"Many of these dramas," says Father Schwickerath quoting Janssen, "were exhibited with all possible splendor, as for instance those given at La Flèche in 1614 before Louis XIII and his court. But it seems that nowhere was greater pomp displayed than at Munich where the court liberally contributed to make the performances especially brilliant. In 1574 the tragedy 'Constantine' was played on two successive days, and the whole city was beautifully decorated. More than one thousand actors took part in the play. Constantine entered the city in a triumphal chariot surrounded by four hundred horsemen in glittering armor. At the performance of 'Esther' in 1577, the most splendid costumes and gems were furnished from the treasury of the Duke; and at the banquet of King Assuerus one hundred precious dishes of gold and silver were used."
Those old Jesuits seemed to be carrying out the famous order of La Mancha's Knight when the ordinary stage was too small: "Then build a house or act it on the plain;" or as a recent writer declares "Like Richard Wagner in our days, the Jesuits aimed at and succeeded in uniting all the arts within the compass of the drama. The effect of such plays was like those of the Oberammergau Passion Play, ravishing, overpowering. Even people ignorant of the Latin tongue were captivated by these representations and the concourse of people was usually very great. In 1565 'Judith' was acted before the court in Munich and then repeated in the public square. Even the surrounding walls and roofs of the houses were covered with eager spectators. In 1560 the comedy 'Euripus' was given in the courtyard of the college at Prague before a crowd of more than eight thousand people. It had to be repeated three times and was asked for again and again."
The early German parsons denounced these dramas as devices for propagating idolatry, but on the other hand a very capable critic Karl von Reinhardstottner says: "In the first century of their history the Jesuits did great work in this line. They performed dramas full of power and grandeur, and though their dramatic productions did not equal the fine lyrics of the Jesuit poets Balde and Sarbiewski, still in the dramas of Fabricius, Agricola and others, there is unmistakable poetic spirit and noble seriousness. How could the enormous success of their performances be otherwise explained? And who could doubt for a moment that by their dramas they rendered great service to their century; that they advanced culture, and preserved taste for the theatre and its subsidiary arts? It would be sheer ingratitude to undervalue what they effected by their dramas."
Goethe was present at a play given in 1786 at Ratisbon. It was during the Suppression, but happily the Jesuit traditions had been maintained in the college. He has left his impressions in writing: "This public performance has convinced me anew of the cleverness of the Jesuits. They rejected nothing that could be of any conceivable service to them, and they knew how to wield their weapons with devotion and dexterity. This is not cleverness of the merely abstract order; it is a real fruition of the thing itself; an absorbing interest which springs from the practical uses of life. Just as this great spiritual society had its organ-builders, its sculptors, its gilders so there seem to be some who by nature and inclination take to the drama; and as their churches are distinguished by a pleasing pomp, so these prudent men have seized on the sensibility of the world by a decent theatre." (Italien Reise, Goethe Werke, Cotta's Ed. 1840 XXIII p. 3-4.)
Tiraboschi began his literary work when a young professor in Modena by editing the Latin-Italian dictionary of Monza, but he made so many corrections that it was practically a new work. Subsequently he was appointed librarian at Milan, and by means of the documents he discovered, wrote a "History of the Humiliati," which filled up a gap in the annals of the Church. While librarian in the ducal library at Modena, he began his monumental work on the "Storia della letteratura italiana." This history extends from Etruscan times to 1700, and required eleven years of constant labor to complete it.
Hurter tells us "Michael Cosmas Petrus Denis was a most celebrated bibliographer, whose almost innumerable works must be placed in the category of humanistic literature." He entered the Society in Upper Austria on October 17, 1747, and taught rhetoric for twelve years in the Theresian College for Nobles, where he won some renown by his poetry. At the time of the Suppression of the Society, to which he ever remained grateful and attached, he was given charge of the Garelli Library and devoted himself to the study of literature and bibliography. His public lectures attracted immense throngs from far and near. He was promoted to be royal counsellor by Emperor Leopold and was made custodian of the Imperial Library. By that time he was a European celebrity. De Backer in his "Bibliotheca" mentions ninety-three of his publications. Hurter classifies as the most important the "Denkmale der christlichen Glauben-und Sittenlehre." His poems which he signed "Sined," which was Denis spelled backward, won him the name of Bard of the Danube, and helped considerably to promote the study of German in Austria. He was one of a group of poets whose chief aim was to arouse German patriotism. Ossian was their ideal and inspiration, and Denis translated the Gaelic poet into German (1768-69), and in addition he published two volumes of poems just one year before the Suppression. Naturally these patriotic effusions in verse by a Jesuit attracted considerable attention. Denis died in Vienna on 20 September, 1800.
Father Baumgartner has won a high place in the domain of letters by his large work entitled "History of the Literature of the Entire World." Besides this he has to his credit three volumes on "Goethe," another on "Longfellow;" a fifth on "Vondel," a sixth entitled "Ausflüge in das Land der Seein" and a seventh called "Island und die Faröer."
Of Father Faustino Arévalo, the distinguished hymnographer and patrologist, we have spoken above.
Geographical themes appealed to many writers both of the old and the new Society, and also to those of the intervening period. The subjects relate to every part of the world. There is, for instance, "The German Tyrol" by the Italian Bresciani; "The Longitude of Milan" by Lagrange; "The Geography of the Archipelago" by F. X. Liechtlé. This archipelago was the West Indies. His brother Ignatius executed a similar work on the Grecian Islands. He went to Naxos in 1754, and died there in 1795. "Chota-Nagpur" is described in 1883, "Abyssinia" in 1896, and the "Belgian Congo" in 1897. Veiga writes of the "Orinoco" in 1789, and Armand Jean of the "Polynesians" in 1867. There is no end of maps such as "Turkestan and Dzoungaria," "China and Tatary," "The Land of Chanaan," "Paraguay," "Lake Superior," "The Land between the Napo and the Amazons." The famous maps of Mexico by Father Kino have been reproduced by Hubert Bancroft in his "Native Races."
Joseph de Mayoria de Mailla's great work called "Toung-Kian-Kang-mou," which is an abstract of the Chinese annals, was sent to France in 1737, but was not published until 1785. He was the first European to give the world a knowledge of the classic historical works of the Chinese. His work is of great value for the reason that it provides the most important foundation for a connected history of China. He sent along with it many very valuable maps and charts — the result of his work in making a cartographical survey of the country; the part assigned to him including the provinces of Ho-nan, Kiang-hinan, Tshe-Kiang, Fo-Kien and the Island of Formosa. As a reward for his labor the emperor made him a mandarin, and when he died at the age of seventy-nine very elaborate obsequies were ordered by imperial decree.